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		“We said, ‘Why not? We’ve done enough records on our own,’” Auerbach adds. “It was also the first time we ever went to a real studio. We had a real studio polish on the record. And that was huge. All of a sudden, [they] sounded like [songs] that could get played on the radio.”

Attack & Release was then the Keys’ biggest record to date. Polished? Yes, that’s one word for it. They had lost all the crappy makeshift, collected equipment and were able to apply all that they had learned by way of self-sufficiency alongside an educated and experimental producer. But, in truth, not much had changed at all.

As Auerbach puts it, brusquely: “We are who we are, that’s going to come out no matter what format or how we record. We’ve come to the conclusion that, when Pat and I play together, we have a certain sound—and that’s what we sound like.”

And that sound, no matter the price tag you put on an amp or a deck, will always be worn and gritty, sounding as though well past its expiration date, soaked deep in blues and amplified by rock and roll with a raw edge—cutting deeply and unforgivably. Attack & Release was critically acclaimed and landed itself on the Billboard 200. Out of the basement, indeed.
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